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Dramatization 


IN   THE 


Grammar  Grades 


BY 

SARAH  E.  WOODBURY 

NORMAL  TRAINING   SCHOOL 
LOS  ANGELES.  CAL 


2.  /  ,3  ^  S 


1909 

Baumaardl  Publishing  Co. 
Los  Anptles.  Cal. 


Copyrighted 
B>    Sirah    E     VVaodbur 
1909 


w 

PREFACE 

i,i  this  booklet  no  claim  is  made  to  originality  either 
of  subject  or  of  method.  The  aim  has  been  to  bring 
together  material  which  has  already  been  tried  and  found 
valuable,  with  the  hope  of  stimulating  an  interest  in 
dramatization  as  a  helpful  form  of  school  work  in  the 
grammar  grades.  In  worth  in  the  primary  classes  has 
already  been  proved  by  many  skillful  teachers,  and 
there  seems  to  he  no  logical  reason  why  dramatizing 
should  not  he  continued  through  all  the  grades.  The 
fourth,  fifth,  and  sixth  years  are  somewhat  barren  of 
interesting  subject  matter;  it  is  especially  difficult  to 
find  fresh  and  inspiring  methods  for  the  teaching  oi 
language,  literature,  ami  history,  and  in  dramatization 
he  large  opportunities. 

Thanks   are   especially    (\u(j   to    Mr.    M.    C.    Bettinger, 

issistant    superintendent    of    school-,.    Los    Angeles,    for 

hi-  advice  and  encouragement;  to  Miss  Kate  F.  Osgood. 

city    principal    of    the    Normal    Training    School,    under 

ose    enthusiastic    guidance    the    first    work    in    formal 

dramatizing  was  done  in  this  school;  and  to  Mr.  Everett 

Shepardson,  supervisor  of  the   Normal  Training  School, 

for    his    kind    permission    to    use    the    illustrations    and 

references  on  dramatization  published  in  Children's  Lit- 

ii  re. 


WHY  SHALL  WE  DRAMATIZE 

All  children  love  to  make  believe.  "Let  us  play  Queen 
Elizabeth  and  Walter  Raleigh.  I  will  be  queen,  and  you 
must  put  your  coat  upon  the  ground  for  hie  to  walk 
over.  Then  you  must  come  before  my  throne  n 
your  knees  and  1  will  put  my  sword  on  your  shoulder 
and  saw  M   dub  thee  knight'.'' 

Such  plays  as  this  are  acted  over  and  over  again  in 
every  home  and  upon  every  playground.  Why  not 
in  every  schoolroom?  It  is  the  most  natural  thing  in 
the  world  for  a  little  child  to  take  the  place  of  another. 
to  think"  his  thoughts,  to  speak  his  words,  to  act  as  he 
does,  for  dramatic  instinct  is  the  happy  possession  of  / 
every  normal  child.  There  is  no  child  so  poorh  endowed 
but  he  has  some  gleam  of  imagination,  some  portion  of 
blessed  heritage  by  which  he  becomes  in  his  own 
person  great,  heroic,  and  beautiful.  It  is  true  that  some 
children  seem  so  earth-bound,  so  restricted,  so  era 
thai  few  signs  of  dramatic  instinct  can  be  detected.  It 
is  for  such  as  these  that  dramatization  as  a  form  of 
school  work-  offers  its  greatest  appeal.  It  Ls  for  the 
backward,  the  indifferent,  for  those  who  "having  eyes 
set'  not,  and  having  ears  hear  not,"  for  those  who  need 
to  he  encouraged,  stimulated,  vivified,  thai  this  work  is 
i  if  primary  imp*  irtance. 

In    the   kindergarten    the    dramatic    ihstincl    has    long 

been   recognized   and   systematically    cultivated,  bul    il    is 

only  recently  that  grade  teachers  have  begun  to  realize 

great    possibilities   it    offers    for   development    along 


DRAMATIZATION     IN     Mil.    GRAMMAR    ORADES  ^ 

many  lines.  Teachers  are  learning  that  the  school  i- 
life  and  that  all  that  enters  into  the  fullness  and  richness 
ol  the  child's  world  ma\  properly  have  an  educative 
value.  Children  need  an  opportunity,  too,  for  carrying 
out  si  nne  oi  their  projects,  and  the  ordinary  routine  of 
the  school  gives  small  space  for  this.  Education  tends 
t<>  he  mechanical,  and  anything  which  brings  more  spoil 
taneity  into,  the  work  is  welcome.  Dramatization  helps 
to  break  up  the  deadly  formalin  of  the  schoolroom  by 
introducing  something  of  interest  to  the  child,  some- 
thing which  satisfies  his  imagination,  and  exhausts  his 
executive    resources. 

Without  doubt  the  greatest  value  of  this  work  lies  in 
the  cultivation  oi  the  creative  imagination,  in  power  to 
visualize,  and  in  the  encouragement  of  self-expression, 
hut  there  are  other  important  results.  One  of  the  most 
significant  is  the  cultivation  of  the  social  instinct.  <  iirls, 
especially,  need  experience  in  "team  work."  To  yield 
to  whatever  condition  is  for  the  common  good,  to  con- 
sider the  whole  of  more  importance  than  any  of  its  parts, 
is  the  best  possible  training  for  children  as  social  beings. 

When  teacher  and  pupils  work  together  in  making  and 
presenting  a  play  they  come  to  know  each  other  hetter 
than  in  many  months  of  ordinary  association.  There  is 
no  more  fortunate  occasion  ever  afforded  a  teacher  for 
studying  her  children.  Traits  of  which  she  had  no  pre- 
vious knowledge  appear,  showing  to  her  watchful  eye 
opportunities  for  service  in  their  behalf.  The  awkward. 
indifferent  lad  will  often  appear  in  a  new  character — 
eager,  alert,  dignified.  The  child  who  has  shown  no 
initiative  devises  wonderful  stage  properties.     Here  self- 


(>  DRAMATIZATION    IN    THE    GRAMMAR    GRADES 

ishness  sometimes  shows  itself,  but  far  more  frequenth 
real  admiration  and  praise   for  what  another  can  do. 

Dramatization  also  furnishes  an  excellent  means  for 
the  correlation  of  subjects.  Reading,  literature,  lan- 
guage, history,  and  geography  offer  much  material,  while 
sewing,  sloyd,  music,  and  drawing  may  be  effectively 
combined  with  them.  In  this  way  a  motive  for  con- 
struction work  is  given,  without  the  forced  union 
to  which  teachers  sometimes  feel  obliged  to  resort 
Everyone  acknowledges  the  importance  of  giving  rest- 
less pupils  an  opportunity  to  express  themselves  b\ 
doing,  and  abundant  opportunity    for  cultivation   oi    the 

otor  activities  is  afforded  both  in  the  hand  work  and 
in  the  action  of  the  play. 

The  effect  of  the  introduction  of  the  dramatic  spirit 
into  the  teaching  of  reading,  literature,  history,  and 
geography  is  to  vitalize  and  illumine  much  that  has  been 
dull  and  spiritless.  Characters  are  made  to  live,  events 
become  part  of  a  child's  own  experience,  and  p 
become  real  which  before  were  as  vague  and  indefinite 
as  "No  Man's  Land."  But  in  no  subject  is  the  value  of 
this  w '  n"k  nn  >re  apparent  than  in  the  teaching  oi  langi 
If  it  is  true  that  there  is  ''No  expression  withoul  im] 
si<  mi."  then  the  first  aim  in  language  teaching  sin  >uld  be  the 
making  of  impressions.  When  these  have  been  strongly 
made  the  expression  follows  as  a  matter  oi  course,  and 
the  teacher  needs  only  to  guide  the  child  to  correct  form. 
There  is  no  kind  of  composition  work  so  delightful  to 
the  average  child  as  making  a  play,  whether  it  be  the 
informal  oral  dialogue,  or  the  more  formal  written  one. 


DRAMATIZATION     IX    THE    GRAMMAR    GRADES  / 

and  the  fact  that  the  children  enjoy  the  work  is  not  the 
leasl  thing  to  be  said  in  its  favor. 

Many  possibilities  of  home  enjoyment,  also,  appear, 
for  the  children  arc  eagef  to  produce  again  at  home 
what  they  have  dramatized  at  school.  An  active, 
restless  boy  spent  his  spring  vacation  in  teaching  to 
the  children  of  Ins  neighborhood  a  play  which  had 
been  written  and  presented  by  bis  class  at  school. 
It  was  given  in  a  barn,  the  traditional  entrance  fee 
of  a  certain  number  of  pins  was  charged,  and 
the  vacation  was  spent  in  profitable  fun  instead  of 
idle  pleasure.  The  wise  Mrs.  Alcott  encouraged  her 
four  "Little  Women"  to  write  and  act  their  simple  plays, 
and  many  other  wise  mothers  since  have  shared  their 
children's  joy  in  this  delightful  form  of  home  amuse- 
ment. 


HOW  SHALL  WE  DRAMATIZE 


In  order  that  dramatizing  may  be  carried  on  with 
the  greatest  possible  benefit  to  children,  certain  of  its 
important  phases  should  be  carefully  considered.  i;irst 
of  all.  the  teacher  must  realize  that  the  finished  produc- 
tion of  a  play  is  not  the  chief  end  in  view.  Awakened 
interest,  improved  oral  and  written  language,  and  greater 
freedom  from  self^consctousness  constitute  the  valuable 
"by-product"  of  this  work'.  In  interpreting  and  pre- 
senting a  play  already  written  some  of  these  results  are 
obtained,  hut  the  value  of  dramatization  is  greatly 
increased  when  children  write  their  own  plays.  .Much 
of  the  composition  work  in  school  is  done  with  no 
apparent  end  in  view.  Mere  is  a  motive  adequate  to; 
the  most  ambitious  and  stimulating  to  the  most  slothful. 
To  write  a  plav  of  their  very  own,  to  he  given  by  them- 
selves, satisfies  the  sense  of  ownership  so  strong  in 
children,  and  at  the  same  time  offers  to  the  teacher  a 
large  opportunity  for  the  cultivation  of  correct  form  and 
expression.  By  the  time  children  reach  the  seventh  or 
eighth  grade  they  are  ready  to  begin  the  stud)  and 
interpretation  of  the  great  dramas  and  the  writing  oi 
plays  will  give  place  to  other  forms  of  composition  work 
in  line  with  their  new  interests. 

In  the  selection  of  materials   for  dramatization   great 

care  should  be  used.      The  supplj  oi  suitable  matter  is  so 

abundanl    that    there    is    no   excuse    for    using    anything 

ior   quality.      The    impression    made    l>\    a    story 

when  read  is  considerable,  hut  this  impression  is  increased 


DRAMATIZATION     IN    THE    GRAMMAR    GRADES 


9 


greatly  when  the  story  is  acted.  For  this  reason  it  is 
unwise  fee  dramatize  eviii  good  pieces  oi  literature  i: 
they  contain  incorrect  English.)  A  dialed  story  may  be 
a  bit  of  real  literature,  and  charming  in  its  way,  but  it 
is  entirely  unsuited  for  dramatization  in  the  gradesj 
Language  forms  are  soon  forgotten  when  merely  read. 
but  they  become  -firmly  fixed  in  the  memory  by  frequent 
repetition,  enforced  bv  the  living  power  of  the  play. 
(ThTv'when  correct  English  has  become  the  hahit  tTifotfgh 
years  of  careful  exercise  can  one  safely  indulge  in 
iin^rammatical  uses.  All  the  best  literature  is  by  no 
means  suitable  for  dramatization.  Much  of  it  contains 
no  element  of  drama.  Often  the  choice  and  beautiful 
imagery  would  be  injured  by  giving  it  a  dramatic 
setting.  Sometimes  the  thread  of  the  story  is  too  deli- 
cate, too  subtle;  sometimes  the  incidents  cannot  be  linked 
together  except  by  over-much  explanation.  A  simple 
plot,  plenty  of  life  and  action,  a  worth}'  conclusion — these 
are  the  prime  requisites,  and  they  may  all  be  found  irj 
the  good  old  myths,  legends,  and  adventures  of  the 
world's  classics. 

\-ain,  the  teacher  should  hear  in  mind  that  dramati- 
zation, like  all  good  things,  may  easily  be  overdone.  To 
dramatize  indiscriminately,  or  to  dramatize'  too  fre- 
quently, may  reduce  a  piece  of  distinctive  work  to  the 
level  of  ever)  day  drudgery.  The  wise  teacher  will  keep 
just  enough  of  this  work  on  hand  to  spur  her  pupils  to 
notable  effort.  Informal  dramatizing  may  frequently  be 
incorporated  in  the  reading,  geography,  history,  or  lan- 
guage lesson,  but  the  more  formal  work  of  writing  a 
play  should  not  be  allowed  to  monopolize  more  than  its 


io 


DRAMATIZATION     IX    THE    GRAMMAR    GRADES 


proper  shaiv  of  time.  One  play  a  term,  written  and 
presented,  with  the  accompanying  preparation  of  cos- 
tumes and  scenery,  is  sufficient,  but  not  more  than  any 
teacher  can  carry  on  advantageously.  The  length  of 
the  play  may  be  limited  by  the  amount  of  time  a  teacher 
feels  that  she  can  give  to  it.  A  play  of  one  act  and  one 
scene  is  best  for  a  first  attempt.  This  will  show  the 
nature  of  the  work,  and  will  indicate  to  the  teacher 
the  lines  of  future  development. 

Scenery  and  costume  are  valuable  aids  in  creating  the 
correct  atmosphere  of  a  play,  but  the  imagination  can 
form  the  desired  images  with  slight  assistance.  Only 
such  simple  costumes  are  necessary  as  will  teach  the 
dress  of  the  time,  or  will  serve  to  portray  a  character. 
A  fur  rug  thrown  over  the  shoulder  of  Hercules  becomes 
as  effective  as  the  original  lion's  skin,  and  a  cap  and  a 
kerchief  make  Priscilla  a  member  of  the  Pilgrim  hand, 
'/"he  only  way  to  avoid  the  danger  of  display  is  to  keen 
uhc  costumes  extremely  simple,  but  some  slight  change 
helps  to  make  a  child  less  self-conscious,  and  enables 
hjm  to  take  the  personality  of  .-mother.  It  would  not  be 
advisable  to  allow  a  child  to  hire  a  costume,  or  to  spend 
mere  than  a  few  cents  for  thai  which  is  u>cA  in  con 
structing  one.  I  lis  ingenuity  can  devise  ways  and  means 
ol  using  materials  already  in  his  possession,  and  of  suit 
ing  them  to  his  needs.  Simplicity  should  be  the  key- 
n< >ie  in  o istume  and  scenery. 

There  is  greal  temptation  to  give  the  principal  parts 

Vto  the  children  who  would  do  the  work  most  creditably, 
It  must  always,  however,  be  borne  in  mind  that  dramati- 
sation has  a  disciplinary  value  for  each  child,  in  curbing 


DRAMATIZATION     IX    THE    GRAMMAR    GRADES 


I  I 


trie  forward,  in  encouraging  the  timid,  in  strengthening 
the  weak,  and  in  binding  all  into  one  social  whole.  If  ii 
is  carried  on  in  this  spirit  of  service,  it  fully  justifies 
itself,  lint  if  deflected  from  its  high  use,  becoming  merelj 
a  method  for  entertaining  visitors  by  the  display  of 
dramatic  talent,  it  would  better  have  never  been  under- 
taken. 

The  teacher  finds  many  happy  surprises  when  once 
she  begins  to  study  her  unprepossessing  material.  She. 
finds  that  she  has  many  who  can  successfully  undertake 
the  part  which  she  at  first  felt  could  he  assigned  to  one 
only.  A  happy  division  of  labor  may  often  be  made  bv 
having  one  group  write  the  play,  another  act  it.  another 
write  invitations,  while  others  attend  to  costumes  and 
scenery.  This  arrangement  by  groups  is  especially  suc- 
cessful in  a  school  composed  of  several  grades.  The 
older  children  enjoy  writing  a  play  for  the  younger  ones 
to  act,  while  others  supply  the  accessories. 

teacher  should  neither  expect  nor  require  highly 
finished  work.  If  it  hears  the  mark  of  childish  effort  it 
will  necessarily  contain  many  errors. — errors  of  propor- 
tion, of  structure,  and  of  expression — just  as  do  all 
■other  forms  of  children's  compositions.  The  teacher 
Ishould  be  a  guide,  leading  the  pupils  from  "better  up 
to  best."  rather  than  a  gardener,  pruning  until  little  of 
the  original  stalk  remains.  In  acting  the  play  no  effort 
should  be  spared  to  lead  each  child  to  understand  and 
appreciate  the  character  he  represents,  but  on  no  account 
should  the  teacher's  interpretation  be  forced  upon  him. 
nor  should  he  be  over-criticised.  Freedom  and  natural- 
ness  should   characterize  this   part   of   the   work.      Imita 


12  DRAMATIZATION     IN    THE    GRAMMAR    GRADES 

tion  and  affectation  arc  to  be  avoided  by  every  possible 
paeans. 

Mic  spontaneous  dramatization  of  stories  from  the 
reading  honks  and  from  general  literature,  so  admirabh 
carried  on  in  many  primary  classes,  is  an  excellent  foun- 
dation for  more  formal  work  in  the  intermediate  and 
upper  grades.  For  the  first  written  work  it  is  well  to 
recast  in  dramatic  shape  some  piece  of  literature  full 
oi  incident  and  conversation.  This  may  be  followed  by 
other  -elections  containing  more  narration  and  less  dia- 
logue, the  latter  to  he  supplied  by  the  children.  A  more 
\  difficult  undertaking  is  to  supply  the  entire  conversation, 
having  only  the  skeleton  of  the  story  given,  or  to  create 
an  entire  play  founded  upon  some  historical  event.  Im- 
portant occurrences,  or  those  portions  of  history  needing 
special  interpretation  should  be  -elected  for  this  purpose. 
'/In  the  sixth  grade  of  the  NTormal  Training  School  tlu 
following  method  was  used  in  writing  "The  Pilgrims." 
Ptey's  by  this  name  had  already  bee.n  written  in  several 
schools,  but  this  was  founded  upon  different  incidents 
from  those  which  had  been  previously  used. 

In    preparation    for    writing,    a   careful    study    of   the 
Igrims  wa-  made.      It  was  simple  and  graphic  enough 
to  suit  the  understanding  of  the  children  of  this  grade. 
Among  the  honks  supplying  material  were  these:       The 
Pilgrims  in  Three  Homes,  Pilgrims  and  Puritans, 

Old  limes  in  the  Colonics.  Romance  of  Colonisation. 
Documents  Illustrative  of  American  History,  and  Stand- 
ish  of  Standish. 

rhe  children   were  interested   in   the   language  of   th 
rl)   times,  and  broughl  into  the  class  many  expressions 


DRAMATIZATION     [N     1'IIE    GRAMMAR    GRADES  I; 

culled  from  the  books  they  read.  Some  of  these  were 
used  in  the  play,  but  it  was  necessary  to  restrict  some- 
what the  unbridled  use  of  Pilgrim  speech.  The  cloth- 
ing, food,  shelter,  method  of  travel,  and  peculiar  customs 
became  subjects  of  thoughtful  inquiry.  Many  pictures 
were  found  which  added  greatly  to  the  conception  of 
these  matters  <  >i    detail. 

When  the  class  had  become  sufficiently  familiar  with 
the  Pilgrim  story  and  thoroughly  imbued  with  its  spirit, 
they  began  to  write  the  play.  At  the  start  a  search  was 
made  for  dramatic  incidents,  and  many  opinions  pre- 
vailed as  tu  the  most  interesting  ones.  Finally  it  was 
decided  that  the  first  act  should  give  the  story  of  the 
Pilgrims  in  Holland  at  the  time  when  they  made  their 
decision  to  go  to  \merica.  For  the  second  act  the 
signing  of  the  compact  in  the  cabin  oi  the  Mayflower 
was  selected.  This  incident  was  particularly  dramatic, 
and  in  all  the  rehearsals  it  never  lost  its  impressive- 
ness.  The  last  act  jvas  not  determined  until  after  the 
first  and  second  had  been  finished.  The  historical  char- 
acters to  be  introduced  into  the  play  and.  in  general, 
what  each   should   say   and   do,   were  then   agreed   upon. 

Much  of  the  dialogue  was  written  by  children  and 
teacher  together,  one  child  giving  a  part,  the  others 
offering  criticisms  and  suggestions.  It  was  afterwards 
placed  upon  the  blackboard  and  its  merits  still  further 
discussed  by  the  class.  Some  portions  were  acted  first 
and  then  written,  as  the  words  came  warm  and  glowing 
from  the  speaker's  lips.  Other  portions,  written  by  the 
children  at   home,   were   read   and  criticised  by   the  pupils 


14  DRAMATIZATION     |\    THE    GRAMMAR    GRADES 

and   approved   or   rejected.     The    best    parts   of    several 
pupils'  work  were  often  combined. 

The  children  were  so  desirous  of  writing  something 
worth  presenting  that  all  individual  preferences  were 
laid  aside,  and  their  thought  was  wholly  of  the  common 
good.  When  questions  arose,  the  teacher  left  the  deci- 
sion, as  far  as  practicable,  to  the  children,  guiding  them 
skillfully  to  logical  thinking,  keeping  them  within  the 
realm  of  probability,  but  letting  the  work  be  theirs,  and, 
not  her  own.  To  have  the  acts  and  words  of  the  charac- 
ter- true  to  historic  conception  was  a  primary  considera- 
tion. Whatever  could  be  represented  by  action — by  ges- 
tures, looks,  smiles,  or  frowns — was  shown  in  this  way. 

Before  a  scene  was  finally  accepted  it  was  acted,  the 
parts  being  assigned  to  different  groups  of  children. 
A  healthy  rivalry  was  established,  one  group  seeking  to 
outdo  another  group  in  interpreting  a  character.  By 
this  means  many  different  children  were  given  an  oppor- 
tunity to  take  part.  This  trial  of  a  scene  tested  its 
value,  and  many  of  their  mistakes  were  here  corrected, 
tin-  children  being  very  quick  to  see  what  should  be 
substituted  or  omitted. 

After  the  final  assignment  of  parts  had  been  made,  it 
was  often  necessary  to  change.  As  each  child  knew  not 
only  one  part,  hut  often  several,  it  was  always  easv  to 
(mil  some  one  to  represenl  whatever  character  the  exi- 
gencies ot  the  moment  required.  Thus,  when  Elder 
Brewster  was  absent,  John  Rowland  stepped  in  and 
i'  m  il<  his  place,  and  ( !apt.  h  'ins  became  a  I  >utch  boy  upi  m 
a  moment's  notice.  When  everj  part  can  be  taken  by  at 
leasl  two  pupils,  dm  child  has  an  undue  sense  of  his  own 


DRAMATIZATION     IN    THE    GRAMMAR    GRADES  15 

importance,  having  no  reason  for  thinking  that  the  play 
can  not  proceed  without  him.  The  scene  in  the  cabin 
of  the  Mayflower  gave  an  opportunity  to  bring  in  all 
the  pupils — a  most   desirable  condition   in   any  play. 

When  the  last  act  was  under  discussion, there  was  much 
difficulty  experienced  in  finding  a,  satisfactory  ending. 
(  >ne  day  the  teacher  read  from  Standish  of  Standish  the 
story  of  the  refusal  of  the  Pilgrims  to  return  to  England 
with  Capt.  Jones.  This  appealed  to  the  children  as  a 
strong  ending  for  the  play,  and  the  last  scene  is  an 
adaptation  of  this  chapter. 

The  children  wished,  as  far  as  possible,  to  wear  the 
dress  of  the  Pilgrims.  Accordingly  the  boys  wore  broad 
collars  and  sashes,  with  high  gray  hats — the  latter  mad'. 
in  their  manual  training  and  drawing  classes.  The  girls 
in  the  sewing  class  made  collars  and  caps  for  themselves, 
and  by  the  addition  of  long  skirts  they  became  veritable 
Pilgrim  women.  Xo  scenery  was  used,  and  the  imag- 
ination pictured  in  turn  the  kitchen  of  John  Carver's 
house,  the  cabin  of  the  Mayflower,  or  the  common  house 
in  Plymouth. 


THE  PILGRIMS 

[Written  and  presented  by  pupils  of  the  sixth  grade. 
under  the  direction  of   Miss  Jessie    Paxton.] 

ACT  I. 

Scene  i. — Leyden.      [Kitchen  of  John  Carver's  house  | 

Characters — John  Carver,  John  Robinson,  Mrs. 
White,  Mrs.  Carver. 

Mrs.  Carver:  I  like  not  the  way  our  children  are 
growing  tip  and  learning  a  language  not  our  own. 

Mrs.  White:  So  think  i.  Listen  to  their  rude  talk 
and  boisterous  play. 

Mrs.  Carver:  I  think  the  girls  are  becoming  as  rude 
as  the  hoys.  Mrs.  Brewster  says  her  daughter  will  not 
spin  any  more,  but  wants  to  play  with  the  Dutch  children. 

Mrs.  White:  Yes,  and  our  young  people  care  not 
for  the  church  as  they  should.  Some  of  them  even  wish 
t(  i  spend  the  Sabbath  in  play. 

Mrs.  (  arver:  During  the  sermon  their  thoughts  are 
often  elsewhere.  !  was  made  ashamed  yesterday  when 
my  little  niece   Elizabeth  laughed  outright  in"  meeting. 

Mrs.  White:  Mrs.  Carver,  hast  thou  heard  how 
Brother  Roger's  son  is  to  join  the  Dutch  army?  And 
my  sister's  eldesl  hoy  would  become  a  sailor. 

Mrs.  Carver:  Oh!  there  arc  so  many  troubles  here. 
Sometimes  I  think  we  should  have  been  better  off  in 
England. 

(  The  men  have  been  listening.  I 

in    Robinson:     \ray,    Mrs.    Carver,   think    nol    so. 


DRAMATIZATION     IX    THE    GRAMMAR    GRADES  1 7 

In  England  we  should  never  have  had  peace  or  happiness 
True,  though,  it  is  a  serious  matter  that  our  children 
are  last  becoming  Dutch.  John  Carver,  heardsl  thou 
aught  of  the  rumor  that  we  may  have  trouble  with 
Spain  ? 

John  Carver:  Yes.  I  was  but  yesterday  told  that  the 
truce  with  that  nation  nears  its  end,  and  the  Dutch 
armies  are  getting  together. 

John  Robinson:  Will  they  not  then  force  us  to  fight 
also?  That  will  separate  our  little  hand.  Something 
must  he  done.      We  cannot  remain  here. 

foiix    Carver:      Thou   speakest    wisely,   John    Robin 
son.     What  thinkest  thou  that  in  Guinea  we  might  wor- 
ship God  and  have  peace? 

John  Robinson:  Yes,  but  it  would  he  too  warm. 
Thinkest  thou  that   America  would  he  better? 

1 1 )  1 1  x  CARVER:  In  America  we  should  he  tree  and 
ruled  by  England,  and  our  children  could  he  taught  the 
English   ways. 

John  Robinson:  !  have  spoken  oft  with  the  elders 
of  this,  and  their  hearts  are  turned  toward  that  new 
country. 

|onx  Carver:  William  Brewster  has  said  that  the 
king  will  not  give  a  charter,  hut  gives  his  good  consent 
that  we  may  go  to  the  new  continent  if  we  disturb  not 
the  peace  of  England. 

|onx  ROBINSON:  These  are  important  subjects,  John 
Carver.  Come  with  me  and  we  will  consult  with  the 
elders. 

(Exeunt    |ohn  Carver  and  John  Robinson.) 


1 8 


DRAMATIZATION    IN    THE    CRAM. MAR    GRADES 


Scene  2. — Leydcn.  [Kitchen  of  John  Carver's  house. 
Several  hours  later.  | 

Characters — William  White,  John  Carver,  John 
Robinson,  .Mrs.  White,  Mrs.  Carver,  Priscilla  Mo- 
lines,  Desire,  Mrs.  Carver's  maid;  Johnny,  a  neigh- 
bor's boy. 

(Mrs.  While  and  .Mrs.  Carver  talking.  Enter  Pris- 
cilla and   I  )esire.  ) 

Priscilla  :  ^How  goes  the  day  with  thee,  dear  Mrs. 
Carver : 

Mrs.  Carver:     Well,  Priscilla. 

Priscilla:     And  thou'rt  as  well  as  usual,  Mrs.  White? 

Mrs.  W 11  in-. :     Ay.  child. 

Desire:  It  is  long,  Mrs.  White,  since  thou  clid'st  visit 
my  c<  aisin. 

Mr-.  White:  And  I  should  he  leaving  now.*  Desire, 
hut  I  fain  would  learn  the  results  of  the  meeting  before 
J   go.     Our  men  tarry  long,  do  they  not.   Mrs.  Carver? 

Mrs.  Carver:  Ay,  Mrs.  White,  it  i>  an  important 
question  which  they  are  deciding. 

Priscilla:  And.  pray,  is  it  a  question  of  Dutch  cus- 
t<  mis  i  »r  of   I  )utch  hi  tlidays  ? 

Mrs.  Carver  (smiling)  :  Nay,  my  child,  it  is  neither, 
hut  thou  dost  know.  Priscilla,  that  our  children  are  grow- 
ing lip  as  Dutch  children.  Even  now  there  is  much  talk 
of  trouble  with  Spain.  We  are  minded  to  leave  this 
country  and  sail  for  America,  so  our  men  have  gathered 
at  the  meeting  house,  to  talk  over  the  matter,  and  to 
i lei  ide  what  to  d< >. 

Desire    (a    little    scornfulh  i:     Methinks    it    a    queer 


RAMATIZATION     IX    THE    GRAMMAR    GRADES 


notion  to  go  to  America,      i    suppose  il    is  some  dreary 
place. 

Priscilla :      Il   may  he  a  beautiful  country. 

Desire:  Well,  for  myself,  I  should  prefer  to  live 
here  in  a  country  we  know. 

Priscilla  :  \a\.  Desire,  talk'  not  so.  It  we  go  to 
America  we  can  lie  free  and  worship  in  our  way.  and  the 
children  will  not  lie  like  the  Dutch. 

Mrs.  White:     Do  I  not  hear  some  one  crying? 

Mrs.  Carver  (listening):  It  is  one  of  the  neighbor's 
children  playing  in  our  yard. 

(Desire  opens  door.      Enter  small  hoy,  crying.) 

Johnny:     Dat  old   Dutch  hoy  hit  me. 

Mrs.  Carver:     Thou  hadst  better  run  home,  Johnny. 

Jo  11  \\y  :      Xo.  1  vont. 

Priscilla:  Stop  th\-  crying,  Johnny,  and  let  me  tell 
thee  where  thou'rt  going.  Perhaps  thy  father  and 
mother  will  take  thee  to  America,  and  then  the  Dutch. 
boys  will  not  bother  thee. 

Johnny:      Is  that   where  the   Indians  live? 

I  'ris<  ii  la  :      Yes,  Johnny. 

Johnny  (rushing  out  doors)  :  I  ley.  ECabby.  I'm  going 
to  America.     Let's  play   Indian. 

Mrs.  Carver:      I  believe  the  men  are  returning. 

i  Enter  John  Robinson,  John  Carver,  Win.  White.) 

Mrs.   White:     We  have   waited   long   for  you   to   re- 
turn. 
n\\'m.  White:     Ay.  it  was  a  long  meeting. 

(  All  sit  down,  i 

|oiix   Carver:     We  have  decided  to  go  to   America. 


20 


DRAMATIZATION     IX    THE    LkAMMAU    GRADES 


where  we  can  make  our  own  laws  and  live  as  we  think 
best.  William  Bradford  has  gone  to  see  a  Dutch  captain, 
and  perhaps  we  may  be  able  to  sail  within  a  few  weeks. 

Mrs.  White;  1  like  not  to  go  so  far  from  our  native 
home,  for  1  have  in  mind  that  life  in  America  will  be 
hard. 

John  Robinson:  hear  not,  for  hard  times  will  come, 
wherever  we  are. 

Mrs.  Carver:  Methinks  it  will  he  a  -nod  day  when 
we  leave  this  country,  for  m>  Ion-  as  we  stay  here  we 
shall  he  troubled.  If  we  pass  the  rest  of  our  days  in 
America  it  may  he  in  peace. 

William  White:  1  think  the  decision  a  wise  one. 
and  pray  that  we  may  succeed. 

|on\   Robinson:     We  must  succeed. 

William  White:  But  I  have  heard  that  the  1  Hitch 
people  do  not  favor  our  going. 

Mrs.  White:  And  we  may  have  some  trouble  in 
getting  away. 

1 1 > 1 1  \  Robinson:  Surely  the  Lord  will  help  us  and 
bring  us  safely  to  the  shores  of  this  new  countrv. 


\i'T    II. 

Scene  i.     |  The  Cabin  of  the  Mayflower.] 
Characters-   [ohn  Carver,  William   Brewster,  John 

I  low  i.  \ \ i >.  Captain   Standish    (writing). 
(Captain  Standish  throws  down  quill.) 
Captain    Standish:     There,  thai   is  finished. 
[ohn  Howi  \nd:     Read  it,  ( 'aptain. 
[ohn   Carver:     \av.  John,  firsl   call  the  resl   of  our 

people  thai  they  may  hear  this  compact. 


DRAMATIZATION     IN    THE    GRAMMAR    GRADES 


21 


i  Exit  John  Howland;  re-enter  John  Howland  witli 
the  rest  of  the  c<  impan} .  I 

[ohm   (  !arver  :      I  ,et  us  hear. 

(Myles   Standish   reads  compact.) 

[The  Mayflower  Compact  may  be  found  in  Documents 
Illustrative  of  American   History,  pp.  30,  31.] 

[ohn  Carver:     Well  done,  Myles  Standish. 
y  Myles  Standish:     Put  thy  name  first,  John  Carver, 
as  our  governor;  the  rest  of  us  will   follow  one  by  one. 
(Carver  signs  and   hands  the  quill   to  Standish.) 

John  Carver:  Thou  next,  our  captain.  (Standish 
signs.  ) 

Myles  Standish    (handing  the  quill  to  Win.   Brews 
ter  )  :     (  )ur  pastor  next. 

(Quill  is  handed  from  one  to  another  until  each  has 
signed. ) 

(Enter  Captain  Jones  near  the  end  of  the  signing. 
lie   talks   in   an   undertone   to   Carver  and    Standish.) 

Captain  [ones:  1  must  land  your  people  soon,  for  I 
cannot  tarry  here  much  longer,  "his  time  I  was  started 
for  home. 

Capt.  Standish  :  Ay,  Captain  Jones,  sail  off  to-mor- 
row. It  matters  not  that  thou  didst  promise  thv  help  in 
finding  us  a  place  to  land. 

John  Carver  (with  dignity):  To-morrOw,  Captain 
Jones,  we  send  ashore  our  first  expedition  to  explore  this 
new  0  umtrv. 

Captain  [ones:  Ay,  well.  (He  walks  away  in  an 
angry  mood.) 

[ohn  Carver:     Has  each  person  signed? 

(  Tli  (RUS  :      Av,  each. 


22  DRAMATIZATION     IX    THE    GRAMMAR    GRADES 

(Win.    Brewster  motions  the  people  to  stand. 

Wm.  Brewster  (with  his  right  hand  raised):  We, 
the  Pilgrims  of  the  Mayflower,  in  the  sight  of  God  and 
of  each  other,  do  solemnly  swear  that  we  will  i  bey  and 
protect  the  laws  authorized  by  this  compact. 

Chorus  (each  person  has  his  right  hand  raised): 
Amen. 

Scene  2.  [Cabin  of  the  Mayflower,  several  hours 
later.  | 

Characters — Wm.  Brewster,  Myles  Standisi  .  John 
Carver,  John  Howland,  Stephen  Hopkins,  Edward 
W'ixsi.ow.  Wm.  Bradford,  Johnny,  a  little  bo  .  Mrs. 
White,  Mrs.  Carver,  Priscilla  Molines,  Mak\  Chil- 
ti  in. 

i  The  women  are  sitting  in  the  cabin,  knitting,  lohnnv 
rushes  in  excitedly.  I 

Johnny:  (  )h,  Mrs.  Carver,  the  men  have  come  back! 
The  men  have  come  back!  We  have  been  watching  the 
boal  for  a  long  time,  and  now  it  is  almost  here,     i  Rushes 

ollt.  I 

.Mrs.  Carver:  The  men  are  returning  from  land. 
(  >h.  how    I   hope  they  have   found  us  a  home  al    last. 

Mrs.  White:  A  home  at  last.  It  sounds  all  »sl  too 
good  to  be  hoped  for.  But  'tis  almost  time.  If  this 
third  expedition  returns  without  having  made  si  deci- 

sion I  shall  give  up  hope  of  ever  touching  land  again. 
i  Johnny    rushes   in   again. ) 

|oii\\>  ;  (  )h.  they're  here.  They're  all  aboard  now. 
Mere  are  the  Governor  and  the  Captain. 

i  Inter  Standish,  Carver,  Howland,  Hopkins,  Brad- 
f( ird,   WinsL >\\ .      All   '  ireetinsfs.  i 


DRAMATIZATION     IN    THE    GRAMMAR    GRADES  2  } 

.Mrs.    White:     Tell    us   what    you   have    found.     We 
arc  almost  unable  to  wait    for  the  news. 

foiiN  Carver:     Bid  the  rest  of  the  people  come  hither, 
[ohn,  that   we  may  tell  them   what   we  have   found. 

i  Exit   [ohn  rlowland.     Re-enter  John  with  rest  of  the 
characters.  I 

h>u\  Carver:  The  storm  kept  us  hack  at  first,  so  we 
did  very  little  exploring  for  several  days.  Monday 
morning  broke  with  clear  skies  and  pleasant  sea, 
refreshed  by  a  good  Sabbath  rest,  we  started  ofi  again. 
We  had  decided  to  give  up  the  search  for  Coppin's  har- 
bor and  to  explore  the  landlocked  harbor  lying  before 
us.     So  we  landed  upon  a  great  rock. 

Standish  :     Where   any   hut   a   fool    would   choose   to 
land,   since  it  is  the  only   dry  place  on   the  beach. 

f  low  i. ami  :     Ay,   and    a    good    landing   it    is,    too.      A 
great  gray  rock  set  ready  tor  a  stepping  stone. 

Carver:      It    seems    to    us    that    the    very    place    was 
marked  out  on   Smith's  map. 

Winslow  :     Ay,  the  place  he  named   Plymouth.     And 
a  far  better  harbor  it  is  than  old   Plymouth. 

Bradford:     (hi  landing  we  found  cleared  held-. 

ETowland:     And   springs  of   fresh,  cool   water. 

HOPKINS:      But     fuel    must    needs    he    carried     further 
than    1    should    fancy. 

Winslow    (dryly):     We   can    hardly   ask    for   tillable 
land  and  forests  in  one  plot  oi  ground. ' 

Bradford:     And  fuller's  clay,  Master  l^ad-i-nTd.  which 
ser\ed  us  in   place   of  soap. 

Carver:     We  saw  no   Indian-,  not  even  their  houses. 
They  seem  to  have  abandoned  the  place  to  us. 


_'4  DRAMATIZATION     IX    THE    GRAMMAR    ('.RADIOS 

Bradford:     And  just  the  place  for  a  town,  too. 

Standish:  With  a  stronghold  just  above  it,  whence 
we  could  easily  protect  ourselves  from  any  foes.  Why, 
men,  from  a  breastwork  thrown  upon  yon  hill,  a  man 
could  sweep  away  an  army. 

Carver:  We  have  shown  you  our  feelings,  friends, 
and  it  is  perhaps  needless  to  tell  you  what  we  have 
decided.  It  seems  wise  to  us  that  Plymouth,  as  Smith 
has  called  this  place,  should  become  our  permanent  home. 

Mrs.  Carver:     A  home  at  last. 

Johnny  (rushing  out):  Oh,  we're  going-  to  land! 
We're  going  to  land  ! 

Scene  3.     [The  Common   House.-]* 

Characters — Capt.  Standish,  John  Carver,  Mr.  Al- 
lerton,  Stephen  Hopkins,  Wm.  Brewster,  WAi. 
Bradford,  Capt.  Jones,  John  Alden,  Winslow, 
Squanto,  a  strange   Indian.   Priscilla   Molines,   M  \ky 

(  'll  II  TON. 

(Capt  Standish  sitting  at  a  tabic  at  one  side  of  the 
room.      Enter    Priscilla  and    Mary.) 

Priscilla:     Why  lookest   thou  so  sad,   Mary? 

M  \rn  :      But  thou  knowest    I   am  sad.   Priscilla. 

Priscilla:  Kay,  Mary,  but  think  of  me  with  all  my 
people  gone.  We  must  be  brave  and  try  to  help  those 
who  are  less  fortunate  than  we.  tome,  Mary,  let  US 
find  dear  Mother   Brewster  and  trv  to  cheer  her. 


The  greater  part  of  Scene  3  is  adapted  from  Standish 
of  Standish,  and  is  usv^l  by  permission  of  the  publishers, 

I  lou-htou-Mifthii   <  1  >. 


DRAMATIZATION    IX    THE    GRAMMAR    GRADES  2'0 

Mary:     Thou  art  right,  my  wise  Priscilla,  and  1  will 

come. 

(  Exit  Mary  and   I  'riscilla.  ) 

Capt.  Standish  (looking  up):  Unselfish  Prisciila. 
Thou  dost  ever  forget  thine  own  troubles  in  helping 
others. 

(  Enter  Allerton,  Hopkins,  Carver,  Winslow,  Brewstej 
and  Squanto.  Standish,  looking  up,  greets  the  new 
comers.) 

Capt.  Standish:  How  is  thy  good  wife,  William 
Brewster? 

\V.\i.  Brewster:  She  is  always  cheerful,  and  that, 
my  people,  must  we  all  he.  At  this  time  when  famine 
and  plague  have  stricken  us  so  sorely,  if  we  work  to- 
gether and  stand  firm  in  our  faith,  the  Lord  will  send  us 
better  times  soon. 

Hopkins:  And,  in  sooth,  if  lie  does  not,  we  will  all 
starve. 

John  Carver:  The  crops  are  all  in  and  growing,  h 
the  weather  so  continues,  another  winter  should  find  us 
with  plenty  of  food. 

Wm.  Bradford:     The  Mayflower  will  carry  back  let 
ters  and  accounts  of  our  terrible  need;  and,  perchance, 
before  very  long  we  may  have  help  from  our  friends. 

(  An  Indian  glides  in,  carrying  a  rattlesnake  skin  filled 
with  arrows,  lie  hands  it  to  Myles  Standish.  The  men 
look  at  their  muskets  and  measure  the  distance  between 
themselves  and  the    Indian.) 

Squanto:      Big   Indian  chief  sends  war. 

Carver:  Yes,  my  friends,  this  is  an  offer  of  war. 
I  b  iw   shall  we  answer  it  ? 


26  DRAMATIZATION    IN    THE    GRAMMAR    GRADES 

Hopkins:     Let  us  accept  it. 

Allerton:  Can  we  defeat  them,  with  half  our  arm) 
sleeping  under  yon  patch  of  corn? 

Wm.  Brewster:  We  must  remember,  my  people, 
that  we  came  not  to  kill,  hnt  to  convert  these  red  men. 
v    Standish:     Leave  this  to  me,  for  war  is  my  held. 

i  lie   empties   out   the   arrows   and   tills   the   skin   with 
powder  and  bullets.  I 
v    Standish  :     And  thus  do  1  answer  their  challenge. 

(The  men  discuss  the  matter  in  an  undertone.  Lnter 
John  Alden  and  Capt.  Jones  at  one  side  of  the  stage. 
John  Alden  is  hurrying  along  when  he  meets  Capt 
Jones.) 

Capt.  Jones:      Ho  Jack!     Where's  thy  master? 

Alden:  In  heaven,  Master  Jones,  or  mayhap  thou 
meanest  King  James  who  by  last  accounts  was  in  London. 

Jones  (hows):  I  crave  thy  pardon,  worshipful  Mas- 
ter \lden.  1  would  fain  know-  where  thy  servant,  Carver, 
and  thine  other  retainers,  Winslow,  Standish,  Allerton. 
and  the  dominie  may  he. 

Alden:  "lis  a  large  question,  .Master  Jones,  for  I  do 
not  keep  them  in  my  pocket  as  a  general  thing. 

Jones:  Come  now.  Jack,  he  a  good  lad,  and  bring 
me  to  the  governor,  the  captain,  and  the  elder,  for  time 
ami   tide  are   pressing,  and    I    would    fain   he  gone. 

Alden:  And  so  would  I.  Captain  Jones.  For  1  was 
on  my  way  to  the  Common  house  when  thou  didsl  stop 
me.     I'm  come  with  me  and  we  will  find  the  Fathers. 

(Exil  \lden  and  Jones.  Enter  Alden  and  Jones  at 
other  -Lie  of  the  stage.  \lden  is  ahead  and  speaks  in 
an  underti  »ne  to  (  arver.  I 


DRAMATIZATION    IN    THE   GRAMMAR    GRADES 

Carver:  Good  day,  Captain  Jones.  John  Alden  tells 
me  thou  wouldsl  have  speech  with  me. 

Jones:  Yes,  Master  Governor,  and  glad  am  I  to  find 
so  many  of  your  men  here,  for  what  I  have  to  say  con- 
cerns every  man,  ay,  and  woman  and  child  in  your  settle- 
ment. 

Carver:  In  truth.  And  what  may  it  be,  Master 
J(  >nes  ? 

Jones:  Tomorrow  I  am  off  for  home,  wind  and 
weather  permitting. 

Wm.  Brewster  (sternly):     And  God  willing. 

Jones    (his   eyes    twinkling):      If,   as   you    saw    Cod 
guides   the   wind   and   the   weather,     reverend     sir,     fair 
weather  shows  that   He  is  willing,  does  it   not? 
v/  Standish  :     Since  thy  time  is  so  short,  Jones,  perhaps 
thou'lt  save  it  and  tell  thine  errand  at  once. 

Jones  (turning  upon  Standish):  Ho,  my  little  Cap 
tain!  Hard  work  and  starving  do  not  cool  thy  temper, 
do  they?  But,  hold!  'Tis  true  I  am  scant  for  time,  and 
mine  errand  is  just  this:  ye  have  been  good  friends  and 
true  to  me  when  I  was  in  need,  with  my  men  half  sick 
and  ready  to  mutiny,  and  your  women  have  made  me 
believe  in  saints  and  angels.  So  [  am  come  to  offer  such 
of  you  as  will  take  it,  a  free  passage  home,  if  the  men 
will  help  handle  the  ship,  and  the  women  cook,  and  nurse 
such  as  may  he  ailing.  Or  if  yon  choose  to  load  in  your 
stuff  for  passage  money  1  will  trust  Master  Carver's 
word  for  the  rest. 

(  Men   look-   at   each   i  ither.) 

Carver:  Brethren,  ye  have  heard  Master  Jones'  offer 
and   1  doubt  not  ye  agree  with  me  that  it   is  kindly  and 


28  DRAMATIZATION    IN    THE    GRAMMAR    GRADES 

generously  spoken  and  meant.     What  say  ye  to  it.  man 
by  man  ?     Elder  Brewster? 

Elder  Brewster:     I  say.  "Cursed  be  he  who  having 
put  his  hand  to  the  plow  turneth  back." 

Carver:     And  Master  Allerton? 

Allerton:     I   will  abide  by  the  decision  of  the  rest. 

Carver:     And  Master  Alden? 

Alden  :     I  haw  no  desire  but  to  stay. 

Carver  :     Master  Hopkins? 

Hopkins:  J  am  here  with  all  belonging  to  me,  and 
here  I  abide. 

Carver:     And   Master  Winslow? 

WlNSLOW :      I    and   mine    remain    here. 

Carver:     And  thou.  Captain   Standish? 

Standish  :  Our  trumpeter  has  not  been  taught  to 
sound  the  retreat. 

Carver  :     And  Bradford? 

Bradford:     I   tain  would  stay  here. 

(  'arver  :      And   thou,    I  )octor? 

Dr.  Fuller:  1"  faith  1  see  better  hope  of  practice 
here  than  in  the  old  country.      I'll   Maw 

Carver:  And  I  have  come  here  to  live  and  to  die. 
So  you  see.  Captain  Jones,  that  while  grateful  to  yon 
for  your  offer,  we  cannot  accept.  We  thank  you,  friend, 
lor  your  kind  imitation  to  take  passage  with  you  for 
our  old  home,  hut  not  one  of  us  will  give  up  the  hope  of 
our  new  home.  Not  one  among  us  having  put  his  hand 
to  the  pi' >\\    will  turn  back. 

Jones  (looking  around  slowly):     Not  one? 

\V\l.    BREWS!  ER    l  proudly  i  :      Nol   one. 

(  horns  <  all  i  :     Not  i  me  ! 


HANSEL  AND  GRETHEL 

[Dramatized  by  pupils  of  the  sixth  grade,  under  the 
direction  of  Miss  Margaret  Little.] 

ACT   I. 

Scene    I. —  Interior  of   Woodcutter's    Home. 

[To  the  right,  two  straw  beds;  in  the  center,  table  and 
stools.     Grethel    sits    knitting   and    humming.] 

Hansel  (entering  with  an  armful  of  wood  which  he 
throws  down  in  a  corner):  My,  but  I'm  glad  that's 
done. 

Grethel  (impatiently  throwing  down  her  knitting): 
O  dear.   I'm  tired  of  working,  too. 

Hansel:     Come,  let's  have  some   fun.     I'm  hungry. 

Grethel:  I  know  where  there's  some  milk,  and  you 
don't. 

Hansel:     Milk.    Oh,  where  is  it? 

Grethel:      You  never  could  find  it. 

Hansel  (at  once  beginning  to  hunt):  You  can  at 
least  tell  me  when  1  am  warm. 

Grethel:  You're  cold  now,  and  colder  yet.  \ow 
you're  getting  warm.     Lood  out,  you'll   spill   it. 

(Hansel  puts  his  finger  in  to  get  a  taste,  then  sets 
Jul;   on   the  table.  ) 

Grethel:  Oh,  you  naughty  boy.  Mother  will  give 
us  both  an  awful  whipping.      i  She  snatches  the  Jul;.  I 

Hansel   (running  after  her):      It's  my   turn   now. 

(They  are  running  about  the  room  boisterously  when 
the  mother  enters. ) 


30  DRAMATIZATION    IN    THE    GRAMMAR    GRADES 

Mother  (angry  and  surprised)  :  What  do  you  mean 
by  racing  about  the  room  in  this  way?  i  She  sees  the  jug 
which  Grethel  is  trying  to  hide,  and  snatches  it.)  I  low- 
dare  you  touch  that  milk!  And  you  have  spilled  half  oi 
it.  and  your  poor  father  will  have  no  supper. 

Grethel:     Oh,  was  it  for  father? 

Mother  (angrily):  Why,  of  course.  Do  you  sup- 
pose I  would  have  begged  it  from  neighbor  Miller  for 
you  ? 

Hansel  (picking  up  stools):  We  didn't  mean  to  do 
it;  really  and  truly  we  didn't. 

Mother  (  still  angry  i  :  Go  to  bed,  you  little  wretches. 
You    have   done   quite   enough   mischief    for   one   day. 

(They  go  to  bed  behind  curtains  and  the  mother  sets 
the  table   with  the  remnant  of  bread  and  milk.) 

(Enter   father,   tired   and   discouraged.) 

Father:  No — work  to  be  had — Where  are  the  chil- 
dren ? 

Mother:     They  were  tired  and  went  of]  to  bed  early. 

Father:  My — Wife,  where  did  you  get  this  good 
milk? 

Mother:  Those  new  people  who  just  moved  into 
the  brown  house  across  the  way  have  a  cow.  1  begged 
the  milk    from   them. 

Father:     Did    the   children    have    some,   too? 

Mother:  You  may  he  sure  they  had  their  share — 
That  is  the  last  bit  of  bread  in  the  house. 

Father  (going  over  to  look  ;it  the  children):  Poor 
little  chaps!  They  must  he  hungry  all  the  lime.  What 
is  to  bed  une  i  >f  them  ? 


DRAMATIZATION     IX    THE    GRAMMAR    GRAD]  3] 

Mother:  Well,  I'm  glad  you've  begun  to  realize  how- 
had  things  really  arc 

Father  (sits  down  heavily):  We  can't  let  them 
starve. 

Mother:     They  might  beg — 

Father:  Beg  from  people  who  are  as  poor  as  we 
arc !     Never. 

Mother:  Well,  then,  listen  to  me.  Many  people  arc 
passing  through  the  woods  on  their  way  to  the  county 
fair.     We  might  leave  them  in  the  depths  of  the  forest. 

Father:     Wife — how-  can  you! 

MOTHER:  The  children  will  think  they  are  lost  and 
will  cry  out.  Then  the  travelers  will  take  them  to  the 
village  and  care  for  them. 

Father    (tries  to  stop  her):     Wife,   I— 

Mother:  Now  you  just  wait  till  1  have  finished. 
When  the  hard  winter  is  over  we  can  go  to  the  village 
and  get  them   again. 

Father  (shaking  his  head):  How  can  I  part  from 
my  little  ones ! 

Mother:  Well,  keep  them  here  to  starve  if  you  want 
to.  Perhaps  you  don't  know  that  you  are  the  only  one 
who  has  had  anything  to  cat   for  days. 

Father:  ( ),  wife,  is  that  really  true?  Then  we  must 
do  as  you  say. 

(She  starts  to  put  things  away,  i 

Mother:  1  will  give  them  this  bit  of  bread  for  theii 
lunch.  (  Exit  the  mother,  i 

(  Father  goes  and  looks  at  children  and  is  greatly 
moved;  he  throws  his  coat  over  them   for  a  cover.) 

I  Exil   the   father.  I 


32  DRAMATIZATION     IX    THE    GRAMMAR    GRADES 

(Children  are  not  asleep  and  have  heard  all  that  was 
said.     The)"    sit    up    frightened.) 

Grethel  (beginning  to  whimper)  :  Oh,  I  don't  want 
to  go  into  the  woods  and  leave  father. 

Hansel:  Hush,  sister,  hush.  1  will  find  a  way  out 
of   it. 

Grethel:     A  bear  might  catch  us. 

Hansel:     I  tell  yon.  1  11  go  out  and  get  some  pebbles. 

We  can  drop  them  along  the  way  and  find  our  way 
home  by  them. 

Grethel:     Oh,  yes,  that  is  a  good  plan. 

Hansel  i  tiptoes  away  and  comes  running  back): 
The  door  is  latched.     It's  too  bad. 

Grethel:  1  tell  yon  what  we  might  do.  We  might 
drop  our  piece  of  bread  along  the  way. 

Hansel:      Yes.   that  is  a   good   plan. 

(The  children  go  to  sleep.) 

Scene  2. — Shady  Spot  in  the  Woods. 

[Enter  Hansel  and  Grethel,  carrying  a  basket  of 
berries.  | 

Grethel:  (  Mi,  what  a  nice  shady  place.  Lei's  rest  a 
little  while.  I  They  dt  down.  ) 

1  Iansel  :     (  Mi.  I  'in  si  i  hungry. 

Grethel:  So  am  I.  I  wish  we  had  the  piece  of 
bread   we  broke  to  find  our  way  home   with. 

Hansel:     We  mighl  eat   just  a   few  berries. 

Grethel:     Oh,  no.     They  are  for  father. 

Hansel:  Then  let's  put  them  out  of  sight.  (Me 
hides  berries  h\  a  hush.)  Sister,  I  knovi  father  would 
like  them  better  if  we  just  taste  them. 


DRAMATIZATION     IN     Mil-.    GRAMMAR    GRADES  ,}  5 

Grethel:  Well — let  us  take  just  five  each.  (They 
count  out  five  berries  each  with  great  deliberation.) 

II  \\si:i.:     WOu't  father  be  glad  to  see  us  hack-  again? 

GRETHEL:  Poor  father.  He  felt  pretty  had  to  have 
LIS  g( ». 

II  vnsel:  When  I  get  big  I  shall  do  something  splen- 
did  for  father. 

Grethel  (timidly):  Don't  you  think  it's  about  time 
to — hunt  our  path  1 

II  wski.:     Oh,  no,  it's  much  too  early  yet. 

Grethel:     It  must  be  nearly  sundown. 

Hansel:  Come,  sister,  let's  play  a  game.  I'll  play 
any  one  you  like. 

Grethel  (eagerly):  All  right.  Let  us  dance  as  we 
used  to  at  ( rrandma's. 

(Grethel  begins  to  dance,  singing  from  the  *Opera, 
pp.  24-25.) 

Grethel:     "Brother  dear,  come  dance  with  me",  etc. 

(  Hansel  follows  awkwardly.) 

Grethel:     That's  good,  now  let  us  try  it  again. 

1   Vs  die  begins  to  sing  again  a  cuckoo  is  heard.) 

Hansel:     I  think  we  had  better  be  hunting  our  path. 

Grethel:  No,  no,  we  came  from  this  direction. 
(She  runs  from  the  other  way.)  Oh,  dear,  I  believe  we 
really  are  lost. 

Hansel:  I  lush,  don't  cry.  Let's  call  out.  Halloo! 
Father!   Mother!  (Echo  answers.) 

1  Sandman  appears  and  they  are  frightened.) 


*  Hansel  and  Grethel,  a   Fairy  Opera,  published  by 
Schi  itt  &  Co.,  London. 


34  DRAMATIZATION    IX    THE    GRAMMAR    GRADES 

Grethei. :     Look.     Who   is  that? 

Hansel:     Quick,  let  us  get  behind  that  bush. 

(  They  gradually  fall  asleep,  i 

(Sandman  sings  from  the  Opera,  p.  91.) 

"I  shut  the  children's  peepers  and  guard  the  little 
sleepers",  etc. 

1  Sandman  disappears  and  angels  appear  and  group 
themselves  around  the  sleeping  children.  Angels  sing 
fr<  mi  the  1  )pera,  p.  91.) 

"Angels   'round   thee   watch  do  keep",  etc. 

Scene  3. — The  Woods. 

I  Hansel  and  Grethei  are  asleep  in  the  woods  as  before 
To  the  right  the  witch's  house  is  visible;  across  from  it. 
the  bake  oven  can  just  barely  be  seen.] 

Grethel  (  waking  up)  :  *  >h,  where  am  I?  How  fresh 
and  cool  it  is  here.  (She  sees  Hansel  still  asleep  and 
wakes  him  up  with  a  bit  of  grass.)  Wake  up!  Wake 
up,  lazy  hi  >nes  ! 

Hansel:  Mow  did  we  happen  to  sleep  in  the  woods? 
1  >h  yes,   I   kiit  >w  n<  »w. 

Grethei  :  I  had  the  prettiest  dream  last  night. 
There  were  angels  all  around  us — 

Hansel  (interrupts):     Why,  so  did   I. 

Grethel:  O  Hansel,  I  feel  so  happy!  I  beli  ve  they 
must  have  been  real  angels. 

Hansel  (seeing  the  witch's  house,  sits  up  suddenly, 
exclaiming):  See'  It's  made  of  chocolate  and  ginger- 
bread. 

Hansel:      \n<]   the  windows  are  of  barley   sugar. 

1  They  creep  nearer.  > 
1  1 1 1  i  :      I  am  a  fraid  to  co  am   nearer. 


DRAMATIZATION     IX    THE    GRAMMAR    GRADES 


35 


Hansel:     Come  on,  sister,  nothing  will  hurt  you. 
Grethel  (growing  bolder)  :     We  might  break  off  jusl 

a  tiny  piece. 

Hansel  (breaks  off  a  piece  and  tastes  it  i  :  M-m-.  just 
have  a  taste. 

Grethel  (taking  some  of  his  piece)  :   ts  it  good? 
Witch   ( inside  the  house  I  : 
Nibble,  nibble,  gnaw, 
Who's  nibbling  at  my  little  house? 
Children    (starting  hack    frightened): 
The  wind,  the  wind, 
Idu-  wind  from  heaven. 
i  i  irethel  picks  up  piece  she  dropped  and  starts  to  eat.  i 
Hansel:      Look.    .Mine  is   full  of  raisins  and  plums. 
Witch:     Nibble,  nibble,  gnaw, 

Who's  nibbling  at  my  little  house? 
(hi  rLDREN    (  laughingly  )  : 
The    wind,    the    wind. 
The   wind   from   heaven. 
(Witch  creeps  around  corner  of  house.     She  throws  a 
r<  tpe    an  »und    I  lan-el's    neck.  ) 

Grethel  (snatches  his  piece  of  cake):  Give  me  a 
piece  of  yours,  you  greedy  .Mister  Mind,  and  there's 
a  sample  of  mine.      (She  throws  it  at  his   feet.) 

Hansel:     Ho,  you  little  mouse.     Fll  catch  you.   Ouch! 
GRETHEL    (terrified):     Run,    run.    there'-    a — witch. 
Hansel   (tugging  at  the  rope):     Let   me  go!     Mho 
are  you  ? 

Grethel  (coming  to  help  him):  You  ugly  witch,  let 
mv  brother  go. 

Witch:  Come,  I  am  not  going  to  hurt  you.  I  love 
little  children  better  than  anything  else  in  the  world. 


36  DRAMATIZATION    IX    THE    GRAMMAR    GRADES 

Hansel:  Say,  it  you  don't  let  me  go  I'll — pull, 
Grethel,  pull,  we  can  get  away. 

Witch  (enchants  them,  repeating  rapidly  several 
times  1  : 

Bumble,   rumble,  tumble,  grumble, 
Fumble,  humble,   jumble,  mumble. 

(  She  puts  I  fansel  into  a  cage,  leaving  Grethel  stand- 
ing  stiff.     Witch    goes    around    the    house.) 

FIansel  (whispering):  Sister!  Sister!  Take  care! 
Pretend  to  do  everything  she  wants  yon   to. 

Witch  (comes  back  with  a  plate  of  food):  There, 
dear  little  hoy,  eat   I   say,  or  woe  be  unto  yon. 

(She   disenchants   Grethel,   saying): 
Bumble,    rumble,   tumble,   grumble. 

Witch  (continuing):  Now,  little  girlie,  go  into  the 
house  and  set  my  table.  When  you  come  hack  I  have  a 
surprise  for  you. 

GRETHEL:      I  don't  know    where  your  table  is. 

Witch:  You  stupid  thing!  Right  hack-  there  by  the 
cupboard. 

(Grethel  leaves,  and  the  witch  goes  over  to  look-  at 
I  lansel.  ) 

Witch:  Look-  at  the  lazybones!  lie's  sound  asleep. 
A  line  little  tidbit  he  will  be.  But  first  1  will  hake  the 
little  maid  into  a  nice  brown  cake.  I'll  tell  her  to  look 
at   the  cake   in   the   oven,   and   in   she'll   go.      Ma.    Ma! 

(She    dancer   around    on    her   broomstick,   singing): 
I  lop.  In  ip.  gall(  »p,  gall<  »p. 
M\    broomstick's  better  than  any  old  bat. 

1  <  irethel  c<  mies   running   in.  1 

\\ii(  11:     Show   me  your  thumb.    Bah,  how  lean. 


DRAMATIZATION     IN    THE    GRAMMAR    GRADES  2)7 

i  Hansel    sticks   a    small   bone   through   the   cage.) 

Witch    (continuing):     Grethel,  quickly  bring  a   cak< 
f<  >r  |  M  m  ii"  thin    I  [ansel. 

(Grethel   does  as  she  is  told,  and   the   witch   goes  to 
feed  him.     <  rrethel,  seeing  her  wand,  hides  it.  i 

Witch:     Come,  child,  we  must   look  at  the  cake   in 
the  oven. 

(Grethel   passes  near  the  cage  containing  Hansel.) 

Hansel:     Be  careful.     She  is  going  to  push  you  into 
the  oven. 

Witch:     ('nine  here,  child.     Now  just  put  your  head 
into  the  oven   and    see   if  the  cake   is   done. 

Grethel:     I'm   so   stupid.      I'm   afraid    I    shall    burn 
myself. 

Witch:     <  >,  you   foolish  little  one.     Just  try. 

Grethel:     Please  show  me  how. 

i  Witch  stoops  down  and  <  rrethel  pushes  her  in.  ) 

Hansel:     Eiurrah,  Grethel!  Good  for  you. 

(Grethel  goes  over  and  lets  him  out.     They  take  hold 
of  hands   and   dance   around.) 

Grethel:     Let's   see   what   she  had   in   her  house. 

Hansel:     (  >h,  yes,  come  on.     Let's  see. 

(They  start,  and  on  the  other  side  of  the  house  they 
find  a  number  of  children  standing  stiff  and  straight,  i 

Hansel:     Hello!      Where   did    you    come    from? 

Grethel:     Why  don't  you  talk? 

Hansel:     Maybe   the   old    witch   enchanted   them. 

Grethel:      I    have  her   wand.     Let's  try  to   sel    diem 

free. 

(They    set    them    free,    and    while    all    the    children    are 
dancing,  Hansel  and  Grethel's  father  and  mother  appear. 


38  DRAMATIZATION     IX    THE    GRAMMAR    GRADES 

I  [ansel  and  Grethel,  seeing  their  parents,  run  to  meet 
them.  ) 

Mother  (running  to  children):  Thank  heaven,  we 
have  found  you. 

Father:     We  have  hunted   for  you  all  day  long. 

Mother:  And  now  we  have  found  you,  we  shall 
never  let  yon  go  again. 

1  All  children  take  hands  and  dance  about  the  father 
and  mother.  1 


THE  ADVENTURES  OF  ROBIN  HOOD 

|  Adapted  from  the  text  of  Pyle's  Robin  Hood,  by 
pupils  of  the  sixth  grade,  under  the  direction  of  Miss 
J(  (Sephine    Alice    Seaman.  | 

In  writing  the  play  of  Robin  Hood  the  same  general 
plan  was  followed  as  that  outlined  for  the  Pilgrim  Play. 
After  reading  Pyle's  version  of  the  story,  the  characters 
were  studied  as  they  appear  in  legend  and  history.  Pic- 
tures added  their  part,  and  illustrated  editions  of  the 
book  served  to  reveal  more  fully  the  fascinating  per- 
sonalities of  Robin  and  his  hand.  When  the  conversa- 
tion could  be  adapted  from  the  hook  this  was  done,  hut 
often  it  had  to  he  supplied  by  the  pupils.  A  few  green 
branches  were  all  the  stage  setting  really  required,  hut 
two  ot  the  boys  devised  an  electrical  contrivance  wherein 
a  camp-tire  gleamed  and  faded  at  the  proper  time.  By 
their  ingenuity  and  skill  they  added  much  not  only  to 
the  effect  of  this  scene,  hut  also  to  the  pleasure  of  the 
children. 

SYN(  M'SIS  (  >F  THE   PLAY. 
ACT   I. 
In   which    Robin    Hood  turns  butcher,  enters    Notting- 
ham  Town,   and   sells  the    King's   own    deer   to   the    Lord 
Sheriff. 

Scene  i.  Road  from  Locksley  Town  early  in  the 
morning.  Robin  meets  the  butcher  and  conceives  his 
plan  to  enter  Nottingham. 

Characters — Kobin    Hood,  the    Butcher. 


40  DRAMATIZATION     IX    THE    CRAM  .MAR    GRADES 

Scene  2.  The  Market  Place  in  Nottingham.  Robin 
out-sells  the  town  butcher,  and  is  invited  to  the  Sheriff's 
feast  at  the  Guild  Hall. 

Characters — Robin  Hood,  first  and  second  butchers. 
Other  butchers  and  people  of  the  Market    Place. 

Scene  3.  The  feast  in  the  Guild  Hall.  Rubin  sells 
his  horned  beasts  to  the  Lord  Sheriff. 

Characters — Robin  Hood,  butchers,  Sheriff  of  Not- 
tingham. 

Scene  4.  Idle  road  through  Sherwood  Forest.  The 
Sheriff  discovers  his  plight  and  Robin  Hood  retains  the 
price  of  the   King's  deer. 

Characters — Robin  Hood.  Sheriff,  Little  John,  mem- 
bers of  Robin  Hood's  band. 

ACT  IT. 

In  which  Robin  Mood  shoots  before  Queen   Eleanor. 

Scene  1.  Forest  of  Sherwood.  Late  afternoon.  The 
page,  bearing  Queen  Eleanor's  summons,  arrives  with 
Little  John. 

Characters — Robin  Hood,  Page  to  Queen,  Little  John. 
Will  Stutely,  Allan  a  Dale,  members  of  Robin  Hood's 
band. 

Scene  -'.  The  Shooting  match  in  Finsbury  Fields. 
Robin  defeats  the   King's  archers. 

Characters — King  Henry  1 1  of  England,  Queen  Elea- 
nor, Sir  Hugh,  Sir  Richard  Partington,  Sherifl  of  Not- 
tingham, Chosen  Archers  (if  King's  guard,  Herald  and 
Page,  Robin  I  loud  and  members  of  his  band. 


DRAMATIZATION     IN    THE    GRAMMAR    GB  41 

ACT    III. 

[After  death  of  Henry  II.  Richard  tin-  Lion  Hearted 
Kin-  mi"  England.]  In  which  Kin-  Richard  visits  Sher- 
wood Forest. 

Scene  i.  The  King's  banquet.  Kin--  Richard  hears 
how  Robin  outwitted  the  Sherif)  and  plans  to  visit  Sher- 
wood Forest  in  the  guise  oi  a  monk. 

Characters — Kin-  Richard.  Sir  Henry  of  Lea,  Sir 
Hubert,  and  other  Lords  of  the  Land,  Sheriff  of  Not- 
tingham. 

Scene  2.  The  road  through  Sherwood  Forest.  Robin 
Mood  meets  the  Kin-  in  his  disguise,  and  invites  him 
to  feast  beneath  the  Greenwood  Tree. 

Characters — Robin  Hood,  Will  Scarlet  and  members 
of  the  hand.  Kin-'   Richard,   Disguised   Nobles. 

Scene  3.  Under  the  Greenwood  Tree,  Sherwood  For- 
est.     Kin-    Richard  throws  aside  his  disguise. 

Characters — Kin-'  Richard  and  Nobles,  Robin  Hood, 
Sir  Henry  of  Lea.  Sir  Richard  of  Lea,  Friar  Tuck,  Will 
Scarlet,  Little    ("ohn,  all   Robin    Mood's  hand. 


WHAT  SHALL  WE  DRAMATIZE 

The  following  list  is  suggestive  only  and  should  be 
varied  to  suit  the  needs  of  different  classes.  Material 
which  may  properly  be  used  in  the  fourth  grade  of  one 
school  may  just  as  properly  be  used  in  the  sixth  grade 
of  another.  When  children  are  unimaginative  and  slow 
to  comprehend  the  significance  of  history,  the  time  is  ripe 
for  a  history  play,  whether  it  be  in  the  fourth  or  in  the 
seventh  grade.  .Many  of  these  selections  have  been 
tested,  and  it  is  believed  that  all  will  be  found  to  contain 
dramatic  interest. 

!"(  >URTH   GRADE. 

The   ( i<  ilden   Touch 

The    Three  Golden  Apples 

The  Chimaera 

from  The   Wonder   Book    Hawthorne 

Alice's    Adventures   in    Wonderland. 

Selections     Carroll 

(  )ld  <  Week  Stories  Baldwin 

The  Leak  in  the  I  )ike Cary 

( )ld  Pipes  and  the  I  Jryad   Stockton 

FIFTH  GRADE. 

Kin-    of   the   Golden    River Ruskin 

Tin.    Tied    Piper  of    Hamelin Browning 

Story  of  Sic- fried   Baldwin 

I  teidi,   Selecti(  ins    Spyri 

Story  of  the   Rhinegi  ild    ( 'hapin 


DRAMATIZATION     IN     MM.    GRAMMAR    GRADES  43 

Fifty  Famous  Stories,  Selections Baldwin 

The  Minotaur,  from  Tanglewood  Tales Hawthorne 

Paul    Revere's    Ride    Longfellow 

The    Bee   .Man   of  (  >rne    Stockton 

Columbus,  Scenes  in  Life  of 

Balboa,  Scenes  in  Life  of  

SIXTH   GRADE. 

I  [oratius  at   the    Bridge    Macaulay 

Christmas  Carol    Dickens 

Ivanhoe,    Scenes    from     Scott 

Tanglewood  Tales,  Selections   Hawthorne 

Greek    I  teroes,    Selections    Kingsley 

The    Iliad.    Selections    

The   <  Mvsscy.    Selections    

Robin    Hood Pyle 

Three    (  I  reek    Children     Church 

Story  of  Ulysses ignes  Cooke 

SEVENTH  GRADE. 

Rip   Van    Winkle    Irving 

Little  Nell    Dickens 

Little    David    Dickens 

Legend    of    Sleepy    I  [ollow    In>ing 

The    Spy    C  'ooper 

Courtship  of   Miles   Standish    Longfellow 

\  listorical     Tales,    Selections    Morris 

Dramatization  and  presentation  of  historical  and  imag- 
inary scenes  in   Puritan  life. 

Conduct    of    a    town    meeting   on    the    Puritan    model. 

Continental  Congress  i'1  session. 


44  DRAMATIZATION    IX    THE    GRAMMAR    GRADES 

Incidents  of  Colonial  Life. 
Stories  of  the   Revolution. 

Discussion   of   "Taxation   without   Representation"   by 
famous  men  of  Revolutionary  times. 

EIGHTH   GRADE. 

Lady  of  the   Lake    Scott 

King  Arthur  Stories.      For  material   read: 

King  Arthur  and  His   Knights    Radford 

Story  of  King  Arthur Pylc 

Age  of  Chivalry   BiMnch 

Idylls  of  the  King   Tennyson 

La   Morte   D 'Arthur    Malory 

Knights  of  the  Round  table   Frost 

Julius   Caesar    Shakespeare 

Merchant  of   Venice    Shakespeare 

The    Tempest    Shakespeare 


PREFERENCES  ON  DRAMATIZATION 

ELEMENTARY    SCHOOL    TEACHER    (including 
Vol.  [,  G  »urse  i  >f  Stud)-,  i 

Ashleman,  Lorley  A.:  The  Teaching  of  a  Language  in 
the  Elementary  School,  Vol.  5.  pp.  285-291. 

Atwood,  Harriet  Bradley:  In  First  Grade  (Curriculum), 
Course  of  Study,  Vol.  1,  pp.  [57-158. 

Bass,  Willard  Streeter:  In  Fifth  Grade  (Curriculum), 
Course  of  Study.  Vol.   1.  pp.   [65-168. 

Blaine,  Anita  McCormick:     The  Dramatic  in  Education, 

Vol.  4.  PP-  554"558- 

Chubb,  Percival :  Function  of  the  Festival  in  School  Life, 
Vol.  4.  pp.  S^\>-5()5- 

Colvin,  Stephen  S. :  The  Child's  World- of  Imagination, 
Vol.  6,  pp.  327-342. 

Dryer,  Mabel  Elizabeth:  The  Making  of  a  Play  (Sev- 
enth Grade),  Vol.  8,  pp.  423-43'). 

Fleming,  .Martha  :   The  Making  of  a  Play  (  Sixth  (  rrade  ), 
Vol.  8,  ii]).  [5-23. 
y     Fleming,   Martha:   .Must  it   Be  a  Lost  Art?    Vol.  4.  pp. 

541-553- 
Fleming,  Martha:  In  Speech,  Oral  Reading  and  Dra- 
matic Art,  Course  of  Study,  Vol.  1.  pp.  211-214. 
873-879;  Vol.  _'.  ])]).  59-63  (including  old  Pipes 
and  the  Dryad,  Sixth  Grade),  635-652  (including 
A   Play  of  Galahad,  Third  Grade). 


*From    Children's    Literature,    Training    Department. 

State  Normal   School.   Los  Angeles. 


46  DRAMATIZATION     IN    THE    CRAM  MAR    GRADES 

Fleming.  Martha:   The  Woodman  and  the  Goblins  (story 

by  John  Duncan),  Vol.  4.  pp.  594-600. 
Foster,  Edith  B. :     In  sixth  Grade  (Curriculum),  Course 

of  Stud;,-.  Vol.   1.  pp.   [68-171. 
Hall,  Jennie:  Lionel  of  Orkney,  a  One-act  Play  (Eighth 

(  rrade  >,  Vol.  5.  pp.  29-35. 
Hall.  Jennie:     Some   Plans  of  Dramatic   Representation 

in  Primary  Grades,  Vol.  4.  pp.  566-578. 
Hollister,  Antoinette:      In   Second   Grade    (Curriculum), 

Course  of  Study,  Vol.   1.  pp.   [59-160. 
MacClintock,    Porter   Lander:      Concerning    Drama   and 

1  >ratory  in  the  School.   Vol.  4.  pp.  601-604. 
MacClintock,  Porter  Lander:     Literature  in  the  Elemen- 
tary School.  Vol.  3,  pp.  ^~-,>?- 
Mitchell,  Clara   Isabel:    In    Fourth  Grade   (Curriculum), 

Course  of  Study,  Vol.   1,  pp.   [63-165. 
Norton.    Edward   L.  and   Ashleman,   Lorley   Ada:     Dra- 
matics   in    the    Teaching    of    a    Foreign    Language, 

Vol.  o,  pp.  33-39. 
Payne,    Bertha:     Dramatic    Play    in    the    Kindergarten, 

Vol.  4.  pp.  588-593. 
Purcell,   Helen    Llizabeth :     Children's   Dramatic    Interest 

and  Now    This     May     Be     Utilized     in     Education, 

Vol.  7.  pp.  510-518. 
Sherz,    Anna    Talea:     The    Dramatic    Sense,   an    Aid    in 

Learning  a   Foreign  Language,  Vol.  4.  pp.  579~5&7- 
Thorne-Thomson,     Gudren:       The     Troll's     Christmas, 

Vol.  8,  pp.  210-215. 
Hoesen,  Gertrude:      In  Third  Grade  (Curriculum), 

<  !( .nr-i-  1  if  Si  udy,  Vol.   1 .  pp.   [60-  [62. 

:    The  Course  of  Study  of  the  Elementary  School 

in   English,  Vol.  8,  pp.  524-533.  passim. 


DRAMATIZATION     IN    THE    GRAMMAR    GRADES  47 

TEACHERS  C<  )LLEGE   RED  >RD. 

Barney,  Mabel  I.:  The  Dramatic  Instinct  in  the  Ele- 
liientary  School,  including  the  Pilgrim  Play  (Sixth 
(krade),  Vol.  8.  pp.  i  18-126. 

Luinulnj.  Edith  C. :  In  Literature.  Vol.  7.  pp.  <>(>  ct  seq. 
i  rrciwatha.  First  ( rrade.  ) 

I'.atcliBpior,   Mildred    I.:    In    Leading and    Literature,    Vol 

7.  p.  398.   (Alice  in  Wonderland,    Third  Grade.) 
Kirchwav.     Mary     F. :      In     Literature,    Vol.    8,    p.    17-', 

(  Robin    1  [ood,  Sixth  ( rrade.) 
Peabody,  Mary  G. :     In  Literature  and   Reading,  Vol.  8, 

8,  p.   58.      (Minotaur,    Fifth   Grade.) 

Robbins,  Ida  E. :  In  Reading  and  Literature.  Vol.  8, 
p.  3.   (Lady  of  the  Lake,  Fourth  Grade.) 

Welles,  Katherine  :  In  reading  and  Literature,  Vol.  /, 
]».   370.      (Robinson   Crusoe,   Second   Grade.) 

B(  h  >KS  AND  <  )THER  ARTICLES. 

\ddams,  Jane:  Work  and  Play  as  factors  in  Educa- 
tion,   The  Chautauquan,  Vol.  42.  pp.  25  et  seq. 

Blaisdell:  Potent  Factors  in  Teaching  Oral  Reading 
and  Oral  Language  Dramatizing,  Journal  of  Edu- 
cation (July,  ~\<)oy),  pp.  125  et  seq. 

Buckbee,  Anna:  Use  of  Dramatization  in  Teaching  His- 
tory, New  York  Teachers'  Monographs.  Vol.  5 
l  March,  [903  ),  pp.  106-]  17. 
^  Chubb,  Percival:  Avenues  of  Language-Expression  in 
the-  Elementary  School,  \.  E.  A.  Report,  KJ04.  pp. 
452-459- 
x  Craig.  Anne  Throop :  The  Development  of  a  Dramatic 
Element  in  Education,  Pedagogical  Seminar).  Vol. 
15.  pp.  7?-^]- 


48  DRAMATIZATION     IN    THE    CRAM  MAR    GRADES 

^  Curtis.  Elnora  Whitman:  The  Dramatic  Instinct  in 
Education,  Pedagogical  Seminary.  Vol.  15,  pp. 
-" "  )-346. 

Doyle,  Rhoads :  Teaching-  Hiawatha  to  a  3  A  class. 
New  York  Teachers"  Monographs.  Vol.  7  1  March, 
[905  1.   pp.   41-45. 

Doyle.  Rhoads:  Reading  the  Pied  Piper  of  Hamelin  to 
a  4  A  class.  Do.  pp.  48-51. 

Freytag,  <  mstav  :  Technique  of  the  Drama,  cliapters  1 
and  2. 

Herts,   Alice    Minnie:     Children's    Educational    Theater, 
Atlantic  Monthly,   Vol.    100,  pp.  798-806. 
— :      Dramatic     Instinct — Its     Use     and     Misuse, 
Pedagogical  Seminary,  Vol.    15,  pp.  550-562. 

Keith,  John  A.  11.:  In  Sub-Stages  of  [mage  Thinking 
Elementary  Education,  pp.  204-209. 

MacClintock,  Porter  Lander:  Drama.  Literature  in 
the  Elementary  School)  Chapter  [3. 

McCrady,  Louise  Lane:  The  Child  and  the  Imaginative 
Life,     Atlantic    Monthly.    Vol.     [00,  pp.  480-488. 

McGuire:  The  Dramatic  [nstinct  as  Related  to  Oral 
Reading.  New  York  Teachers'  Monographs  l  lune. 
1902). 

Nicholson,  Anne  M. :  In  Language  in  the  Grades.  Cal- 
ifornia Education  1  San  fose),  Vol.  1.  (Dec  [905), 
pp.  14  and  15  1  Firsl  Grade)  :  22  1  Second  Grade)  : 
24.  21 1  28  (Third  <  irade  I. 

Osgood,  Kate  F.  and  others:  Dramatization  of  Paul 
Revere's  Ride  (Sixth  Grade),  Children's  Liter- 
ature, r raining  Department,  Los  \ngeles  State 
Normal   School,  pp.  77-85. 


DRAMATIZATION     l\    THE    GRAMMAR    GRAD1  \i 

O'Shea,  M.  V.  The  Development  of  Inhibition,  Dy- 
namic Factors  in  Education,  Chapter  i. 

— :  The  Dramatization  of  School  Work,  The 
Outlook,  Vol.  89  (May,  .1908),  pp.  93-94. 

— :  A  Kindergarten  for  Future  Play-goers  (con- 
cerning a  children's  theater — children  as  actors  in 
training,  etc.,  in  connection  with  Education  Alliance, 
East  Side.  Xeu  York  City),  The  Theater  (June, 
1907),  pp.    154-15'),  X,   XII.   XIII. 


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